DOCSLIB.ORG

Los Orígenes De La Relación Jazz–Flamenco: De Lionel Hampton a Pedro Iturralde (1956 – 1968)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Los Orígenes De La Relación Jazz–Flamenco: De Lionel Hampton a Pedro Iturralde (1956 – 1968) REVISTA DE INVESTIGACIÓN SOBRE FLAMENCO La madrugá Nº13, Diciembre 2016, ISSN 1989-6042 Los orígenes de la relación jazz–flamenco: de Lionel Hampton a Pedro Iturralde (1956 – 1968) Juan Zagalaz Universidad de Málaga Enviado: 14-07-2016 Aceptado: 22-10-2016 Resumen Este artículo aborda la relación de las culturas jazzística y flamenca a través del análisis histórico, cultural y musical de las fuentes escritas y sonoras disponibles. El objetivo principal es ofrecer una perspectiva crítica de las primeras grabaciones comerciales en las que ambas músicas aparecen relacionadas, entre 1956 y 1968, que abarcan trabajos de Lionel Hampton, Miles Davis, John Coltrane y Pedro Iturralde. Se ha observado que los intentos de integrar elementos procedentes de ambas músicas en los distintos contextos todavía se encuentran en fase experimental en el periodo trabajado, si bien sientan un importante precedente para el desarrollo de aproximaciones artísticas futuras, como las desarrolladas por Paco de Lucía, Jorge Pardo o Chano Domínguez. Palabras clave: flamenco; jazz; flamenco–jazz; jazz–flamenco; Hampton; Davis; Coltrane; Iturralde; Andalucía. Abstract This article approaches the relationship between jazz and flamenco cultures through the historical, cultural and musical analysis of bibliographical and recorded sources available. The main objective is to offer a critic perspective of the first commercial recordings in which both music appear related, between 1956 and 1968, covering the works done by Lionel Hampton, Miles Davis, John Coltrane and Pedro Iturralde. The attempts of connecting elements from 93 © SERVICIO DE PUBLICACIONES DE LA UNIVERSIDAD DE MURCIA http://revistas.um.es/flamenco both music in the different contexts are still on an experimental stage in this time period, although they establish an important precedent for the develop of the future artistic approaches, as performed by Paco de Lucía, Jorge Pardo or Chano Domínguez. 94 REVISTA DE INVESTIGACIÓN SOBRE FLAMENCO La madrugá Nº13, Diciembre 2016, ISSN 1989-6042 1. Introducción El flamenco goza en la actualidad de una vigencia global que hace que los límites sobre su conocimiento, así como las propias fronteras de su alcance cultural y estilístico, estén en constante cambio y ampliación. El reciente reconocimiento por parte de la UNESCO del flamenco como Patrimonio Cultural Inmaterial de la Humanidad es buena prueba de ello, sin entrar a valorar lo oportuno de la candidatura, ya que la riqueza musical e histórica de este arte transciende más allá de meras etiquetas u homologaciones externas que acrediten su validez. El entramado cultural que ha desembocado en el flamenco es de tal complejidad que la única respuesta que puede tener el ámbito académico español y andaluz es la de una defensa decidida de su patrimonio. El jazz, por su parte, aun no habiendo obtenido todavía la insigne distinción de la UNESCO, parece no desprenderse de la catalogación de “música popular” con la que fue etiquetado tras su enorme popularidad en el segundo lustro de los años 30, cuando se convirtió en música de consumo masivo desde la irrupción en escena del “Rey del Jazz” blanco, Benny Goodman. El mundo académico ha tendido a obviar este tipo de expresión artística americana, y pese que en los últimos 25 años los estudios sobre jazz hayan mejorado gracias al gran trabajo de académicos como Schuller, Owens, Woideck o DeVeaux, o a la aparición del primer Master en Investigación Jazzística en Rutgers1, Universidad de Nueva Jersey, el jazz, dada la magnitud de su país de origen, desarrolla un papel todavía frágil en la sociedad americana (Deveaux, 1997). Este hecho sorprende, sobre todo porque a poco que se indague en expresiones posteriores a la reluciente Era del Swing, el grado de complejidad en la improvisación de los jazzmen del Bebop y épocas 1 Fundado en 1997 por Lewis Porter. 95 © SERVICIO DE PUBLICACIONES DE LA UNIVERSIDAD DE MURCIA http://revistas.um.es/flamenco subsiguientes ha alcanzado cotas nunca vistas previamente en la historia de la música occidental. Ambas músicas, mestizas por naturaleza, han confluido en multitud de ocasiones. Jelly Roll Morton, figura central en la generación del jazz temprano, además de personaje curioso y excéntrico2, decía que para tocar jazz era necesario tener spanish tinge3, aunque el concepto “español” en la Nueva Orleans de principios de siglo XX debe ser tomado con cautela. En cualquier caso, los músicos de jazz americano siempre han mirado con respeto al flamenco; y los flamencos más contemporáneos también se han acercado al arte americano. Fruto de esta aproximación se ha acuñado la catalogación de jazz – flamenco o flamenco – jazz, concepto recurrente de límites más que difusos y de definición todavía más turbia. Pero la principal cuestión antes de abordar una investigación más profunda al respecto es: ¿existe realmente el flamenco – jazz? Como ya se ha comentado, si las propias definiciones tanto de “jazz” como de “flamenco” son fuente de controversia, aunar ambos conceptos de forma unitaria presenta no menos dificultades. Este articulo pretende esbozar la aproximación inicial entre ambos mundos desde un punto de vista histórico, social y musical, para discernir lo apropiado del término, el grado de transferencia cultural mutua y el posible asentamiento de bases para un posterior desarrollo estilístico entre los años 1956, en el que se produjo el lanzamiento del disco Jazz Flamenco de Lionel Hampton, y 1968, en el que se publicó el segundo volumen de Jazz Flamenco, de Pedro Iturralde. 2 Entre otras afirmaciones, Morton aseguraba haber inventado el jazz. 3 Toque español. En 1938, el periodista Alan Lomax entrevistó a Morton, quien afirmó que el spanish tinge era un ingrediente necesario para que una música pudiera considerarse jazz. 96 REVISTA DE INVESTIGACIÓN SOBRE FLAMENCO La madrugá Nº13, Diciembre 2016, ISSN 1989-6042 2. Flamenco – Jazz o Jazz – Flamenco, precedentes ibéricos. En el año 1956, la legendaria figura del Jazz americano Lionel Hampton4 visitaba España por segunda vez con su banda5. Así, los días 12 y 13 de marzo actuaba en el Windsor Palace de Barcelona, con dos pases cada día, auspiciados por el Hot Club de Barcelona y el Club 49, y los días 14 y 15 en el Teatro Carlos III de Madrid, patrocinados por la Casa Americana de la Embajada de los Estados Unidos y el Hot Club de Madrid, en el mismo formato de dos pases. La prensa reflejaba lo acontecido del siguiente modo: La figura del día aquí — del día de hoy y del ayer — es el negro Lionel Hampton el rey del “jazz” el loco del tambor, que con su orquesta ha dado dos conciertos. Los aficionados a la música, sean o no aficionados al “jazz”, alaban y no paran a este loco que los ha vuelto locos. En unas declaraciones, Lionel ha dicho que un músico extraordinario de “jazz” en España es Vicente Montoliu, de Barcelona (La Vanguardia Española, 16 de marzo de 1956, p. 7). La mención del pianista catalán Tete Montoliu es de especial trascendencia, dado lo acontecido en el primer concierto de Barcelona. Durante la actuación de Hampton en el Windsor, cuando la banda estaba interpretando uno de sus últimos números, el público ovacionó a un joven invidente mientras se incorporaba a través del pasillo central del patio de butacas como un espectador más. Hampton fue informado de que se trataba de uno de los pianistas con más proyección del país. Tras el concierto, fueron presentados, y el encuentro derivó en una jam session nocturna (pese a que Hampton tenía otras dos sesiones al día siguiente) y en la petición expresa del vibrafonista americano a los organizadores del evento de invitar a participar al pianista catalán en la segunda fecha de la ciudad Condal (Pujol, 2005). Pocos días después, Montoliu era entrevistado en La Vanguardia: 4 La figura de Lionel Hampton es de gran importancia central para el jazz, ya que desempeñó un papel central en el histórico cuarteto de Benny Goodman. 5 En 1955 había realizado su primera actuación en Barcelona, también en el Windsor y promovida por el Hot Club de Barcelona y el Club 49 de Granollers. 97 © SERVICIO DE PUBLICACIONES DE LA UNIVERSIDAD DE MURCIA http://revistas.um.es/flamenco Yo toqué para él, la primera noche, después de la función, sin público, y por lo visto le gusté; hicimos un poco de música, él con su vibráfono y yo con el piano y llegamos a la conclusión de que parecía que habíamos tocado juntos toda la vida. Al terminar, me dijo que al día siguiente tocaría ante el público; total: que espero un telegrama para grabar discos con él en Paris y, luego, incorporarme a su orquesta (La Vanguardia Española, el 24 de marzo de 1956, p. 19). La prensa de Madrid también reflejó el gran éxito que obtuvo la orquesta en sus dos actuaciones de marzo en el Teatro Carlos III. En un artículo firmado por Antonio Fernández–Cid, publicado en el diario ABC el 15 de marzo de 1956 (p. 57), el autor explicaba: “el espectáculo es alucinante. Al borde, a veces, de lo demencial, […] pero extraordinario, lleno de fuerza.” Esta exitosa serie de conciertos derivó en el cierre de más actuaciones en verano, tanto en Madrid como en Barcelona. Así, las nuevas fechas para la banda de Hampton, que se encontraba inmersa en una extensa gira europea, fueron los días 25, 26 y 27 de junio en el teatro Carlos III de Madrid6, y los días 13 y 14 de julio, en la Monumental de Barcelona, donde Montoliu figuraría como invitado especial del músico americano (figura 1). En Madrid, pese a no contar con la presencia de Montoliu, el éxito volvió a ser tal que los responsables de RCA España propusieron la grabación de un álbum a Hampton en el que se reflejaran las experiencias musicales que estaba viviendo en el país (Pujol, 2005).
Load more

Recommended publications
  • Hybridity and Identity in the Pan-American Jazz Piano Tradition
    Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory.
    [Show full text]
  • The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time.
    [Show full text]
  • Flamenco Jazz: an Analytical Study
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) Permalink https://escholarship.org/uc/item/5rk9m7wb Author Wahl, Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Robert J. Wahl August 2016 Dissertation Committee: Dr. Walter A. Clark, Chairperson Dr. Byron Adams Dr. Leonora Saavedra Copyright by Robert J. Wahl 2016 The Dissertation of Robert J. Wahl is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I would like to thank the music faculty at the University of California, Riverside, for sharing their expertise in Ibero-American and twentieth-century music with me throughout my studies and the dissertation writing process. I am particularly grateful for Byron Adams and Leonora Saavedra generously giving their time and insight to help me contextualize my work within the broader landscape of twentieth-century music. I would also like to thank Walter Clark, my advisor and dissertation chair, whose encouragement, breadth of knowledge, and attention to detail helped to shape this dissertation into what it is. He is a true role model. This dissertation would not have been possible without the generous financial support of several sources. The Manolito Pinazo Memorial Award helped to fund my archival research in New York and Pittsburgh, and the Maxwell H.
    [Show full text]
  • Towards an Ethnomusicology of Contemporary Flamenco Guitar
    Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon.
    [Show full text]
  • Jorge Pardo: Huellas Featuring the Juanito Pascual Trio
    MUSIC Jorge Pardo: Huellas featuring WASHINGTON, D.C. the Juanito Pascual Trio Thu, November 17, 2016 7:30 pm Venue Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, DC 20009 View map Credits Presented by SPAIN arts & culture with the support of the Permanent Observer Mission of Spain to the OAS. Image by Angel Vicente Legendary saxophonist Jorge Pardo comes to D.C. this November as part of his U.S. tour for a unique evening of jazz and flamenco featuring the Juanito Pascual Trio. Whoever loves Jazz, loves Jorge Pardo. Whoever loves Flamenco, loves Jorge Pardo. Those who have a passion for music must love Jorge Pardo because he chants through his flute, is able to let his saxophone complain, enjoys the rhythm and passes his magic on to his instruments. Jorge Pardo, saxophone and flute player, is one of the most outstanding and consistent revelations of the flamenco jazz fusion. He, together with Paco de Lucía and Camarón de la Isla, helped forging a new musical language melding jazz and flamenco. His playing style has become a referential point. He shared ideas, music and experiences during 20 years, with the master of flamenco guitar, Paco de Lucia. During these years of tours, records and coexistence, they created a new musical language known as Flamenco Jazz or Flamenco Fusion. This music had a strong flamenco nature and was composed also off classic works and world rhythms. His discography extends beyond 20 recordings as leader. He also collaborated and exchanged experiences with other artists all over the world, such as Chick Corea, Paco de Lucía, Tete Montoliu, Marcus Miller, Pat Metheny, etc.
    [Show full text]
  • Download Ebook \\ Flamenco > X7RDMURUWD1U
    QMSR6RWOSANH // Kindle < Flamenco Flamenco Filesize: 1.96 MB Reviews This book is really gripping and interesting. Of course, it is actually perform, still an interesting and amazing literature. You will not truly feel monotony at whenever you want of your time (that's what catalogues are for concerning when you request me). (Claud Schaden) DISCLAIMER | DMCA SGSWZG5YYWJ0 / Kindle < Flamenco FLAMENCO To get Flamenco eBook, remember to click the button beneath and save the file or gain access to other information that are related to FLAMENCO book. Reference Series Books LLC Sep 2012, 2012. Taschenbuch. Book Condition: Neu. 246x190x8 mm. Neuware - Source: Wikipedia. Pages: 36. Chapters: Concurso de Cante Jondo, Glossary of flamenco terms, Polo, Cante flamenco, Palo, Flamenco guitar, Duende, David Broza, Cantes de ida y vuelta, Saeta, Malagueñas, Cantes libres, Bambera, Phrygian dominant scale, Paco Toronjo, Río Ancho, ¿Quién maneja mi barca , Rasgueado, Flamencology, Flamenco mode, Rondeña, Flamenco skirt, Cantiñas, Peteneras, Palmas, Alegrías, Flamenco at 5:15, Martinetes, Flamenco shoes, Cartageneras, Zapateo, Hakim, Festival Bienal Flamenco, Tonás, Falseta, Cantes a palo seco, Alboreá, Tablao, Andalusian Centre of Flamenco, La Caramba, Flamenco Fiesta, Latin Grammy Award for Best Flamenco Album. Excerpt: El Concurso del Cante Jondo (Contest of the Deep Song) was a well-known celebration of the art of flamenco, its music, song, and dance, held in Granada, Andalusia on Corpus Christi, the 13th and 14 June 1922. The Spanish classical composer Manuel de Falla (1876 1946), an Andalusian, was the principal organizer of the Concurso; he sought to encourage and enhance the performance of flamenco, which had fallen into a period of decadence.
    [Show full text]
  • An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles"
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles". Gina Lottinger Anthon Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Anthon, Gina Lottinger, "An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles"." (1999). LSU Historical Dissertations and Theses. 6930. https://digitalcommons.lsu.edu/gradschool_disstheses/6930 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Connections Between Bach and Cassadó D Minor Suites
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-1-2021 CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR SUITES Eunice Koh [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/gs_rp Recommended Citation Koh, Eunice. "CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR SUITES." (Spring 2021). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR CELLO SUITES by Eunice Koh Kai’En B.Mus., Nayang Academy of Fine Arts – Royal College of Music, 2017 A Research Paper Submitted in Partial Fulfilment of the Requirements for the Master of Music School of Music in the Graduate School Southern Illinois University Carbondale May 2021 Copyright by Eunice Koh Kai’En, 2021 All Rights Reserved RESEARCH PAPER APPROVAL CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR CELLO SUITES by Eunice Koh Kai’En A Research Paper Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Music in the field of Music Approved by: Dr. Eric Lenz, Chair Graduate School Southern Illinois University Carbondale April 01, 2021 ACKNOWLEDGMENTS The journey to achieve my Masters in Music Performance would not have been possible without my teacher, Dr. Eric Lenz. I am truly appreciative of his unwavering support and dedication for my pursuit for excellence. My growth in cello performance and pedagogy will definitely be aspects that will carry through my later years as a cello performer and educator.
    [Show full text]
  • Popular “Jazz in the Garden” Returns for Third Year in National Gallery of Art Sculpture Garden Every Friday, 5 - 8 P.M., May 30 - August 29, 2003
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: May 11, 2003 | Summer in the Sculpture Garden POPULAR “JAZZ IN THE GARDEN” RETURNS FOR THIRD YEAR IN NATIONAL GALLERY OF ART SCULPTURE GARDEN EVERY FRIDAY, 5 - 8 P.M., MAY 30 - AUGUST 29, 2003 Washington, DC -- A mix of eclectic jazz can be heard in the National Gallery of Art Sculpture Garden every Friday evening from Memorial Day through Labor Day. Local jazz groups perform from 5:00 to 8:00 p.m. in front of the Pavilion Café, next to the grand reflecting pool and fountain. The schedule for the summer is as follows: May 30 Young & Rollins, flamenco/jazz guitar June 6 Jerry Gordon, jazz guitar June 13 Rick Parker Collective, jazz trombone June 20 Origem, Brazilian jazz June 27 Dave Kline, Latin jazz July 4 (no concert) July 11 Young & Rollins, flamenco/jazz guitar July 18 Thad Wilson Jazz Orchestra July 25 Joshua Bayer Quartet, jazz guitar Aug 1 Dave Mosick Trio, jazz guitar Aug 8 Young & Rollins, flamenco/jazz guitar Aug 15 Thad Wilson Quintet, jazz trumpet Aug 22 Jerry Gordon, jazz guitar Aug 29 Origem, Brazilian jazz Sept 5 Bossalingo Latin jazz Sept 12 Dave Kline Latin jazz Sept 19 Joshua Bayer Quartet jazz bass Sept 26 Young & Rollins flamenco/jazz guitar During the jazz concerts, the Pavilion Café in the Sculpture Garden offers a special menu of tapas and refreshments served either inside the café or from carts located on the two patios.
    [Show full text]
  • Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
    Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity.
    [Show full text]
  • India-Lorca-Flamenco Music-Dance-Theatre Inspired by Poem of the Deep Song Federico García Lorca Rasa Y Duende Interior Lansdcapes
    Mónica de la Fuente Company India-Lorca-Flamenco Music-Dance-Theatre inspired by Poem of the Deep Song Federico García Lorca Rasa y Duende Interior lansdcapes A creation in dance, music and theatre where the expe- rience of flamenco is explored in movement, sound and image in an encounter with one of its mother-roots: India. Where the primitive and at the same time stylized sound of flamenco meets –in a creative dialogue- the essence of traditional and contemporary forms of dance-theatre inspired by In- dian Performing Arts. Physical theatre, actions and gestures serve as the languages of expression to convey the poetic world of Lorca and immerse the audience in a new aesthetic experience in search of that magic, timeless space imbued with age-old traditions and startling innovation, poised between India and Flamenco, rasa and duende. “The duende works on the dancer’s body like wind on sand. It changes a girl, by magic power, into a lunar paralytic, or covers the cheeks of a broken old man, begging for alms in the wine-shops, with adolescent blushes: gives a woman’s hair the odour of a midnight sea-port: and at every instant works the arms with gestures that are the mothers of the dances of all the ages”. In Indian aesthetics, RASA refers to the nine basic emo- tions common to all human beings. The artistic expression of those emotions create an aesthetic ideal – a state where all human beings experience ART beyond cultures and frontiers, an experience of the transcendence akin to what in fla- menco is called DUENDE.
    [Show full text]